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The father tends his large garden with the utmost precision. The mother irons shirts and regrets that the father never wears T-shirts. The father likes order, always knows best, and has everything under control. The mother prays and talks of her loneliness. The two are fundamentally different, have opposing views and interests, and have been married for 62 years. Closely knit yet poles apart: this is the ambivalent standpoint from which Peter Liechti turns his lens on his elderly parents and the story of their marriage. Alongside conversations that shift from slapstick to insanity and observations of daily life in his parents’ cramped, lower middle class apartment, a puppet theatre is also established as a second location. This forms the stage for scenes between mother and father to be reenacted by rabbit puppets; as a puppet, the son can also react in explosive fashion.
In the Church of the Holy Sepulchre, in the heart of Jerusalem, six different Christian denominations, Greek Orthodox, Armenian, Syrian, Roman Catholic, Ethiopian and Coptic Christians-have divided the sacred site and simply can not agree on which of the claims on the tomb of Jesus is the most legitimate. So they fight. Sometimes through a difficult time cleaning, sometimes even by force. An intuitive and entertaining approach to the fact that faith is a very human thing.
Alice is a drag queen who has a son who will be a father. The girlfriend wants an abortion. In the conversation between father and son, a secret is revealed and a decision is made.
She was abused by her father during childhood. Since he left, the pain and anger had begun to fade. One day, unexpectedly, she was struck by a revelation about her father's life that cast her feelings about him into confusion.
When Yoel hears about an imminent Iranian military attack on Tel Aviv, he knows what to do - escape with his family to a safe haven in Jerusalem. His son Assaf, who is a filmmaker and about to become a father himself, wants to give Yoel one last lead role in his movie by melting the fictional world into bittersweet reality.
Boróka, who works abroad as a cleaning lady, returns after a long time to her home town where she gets caught in her alcoholic father’s web of lies.
It is 1993 when Bekir Hasanović exchanges a gold coin for the camera he will use to film everyday life in Srebrenica during the days of the war. The images he records with his improvised crew, called Dzon, Ben & Boys, give life to the unexpected portrait of a population lost, but able to maintain a proud connection with reality without giving up its typical humor. Ado, Bekir's son, starts from these images and from the pages of the diaries kept by his father to reconstruct, together with his mother Fatima, the image of his father and finally be able to know how he survived the Death March and the Srebrenica genocide.
Lucio has written an essay about his father, but when he is forced to show it to him, he is hit by a fear that the words might hurt him.
The sculptor Sergio Camargo died 20 years ago. If the bones left in the grave are in fact his remains, would his sculptures be living remains? What's ephemeral and what's lasting? Is there a possible eternity? We see the movie through the eyes of the daughter confronting both the artist and the man.
Lea never met her father. One day, she was told by the police that he had committed suicide after 14 years in prison. This is a story about a father, a bank robber and a magician and about how his daughter got to know him backwards.
Bricomonge is closing down! A son films his father during the last months preceding the closure of his hardware store, giving him an opportunity to question his father about his past and his life choices. The son tries to understand what led his Maoist activist father of the 60s–70s—the intellectual graduate—to sell nails.
A seemingly normal car journey crosses from present reality into a recurring nightmare as Hamoudi, a young victim of war, relives his traumatic experiences of the Baghdad Blackwater shootings.
Karim lives with his son in a small dorm room. Their way of life is unsettled, and the world is manly stingy with compliments and emotions. Not everything in their relationship turns out as smoothly as we would like, and the affectionate hand of a woman is not enough in this uninhabited space. But after all, sorrows and problems are forgotten when the father's shoulder is always there, and the son's hand is always in his big palm.
A nineteen-year-old boy, instead of going to his father's funeral, tries to find comfort in an erotic adventure.
Enta Elly Qatalt Babaya Movie
Pascal Lamorisse is the son of filmmaker Albert Lamorisse. He is also the little hero of some of his father's films (White Mane, The Red Balloon and Stowaway in the Sky). Over the years, Albert Lamorisse, who took his son on all his shoots, sought to transmit his expertise and his passion for filmmaking, even on his last film, The Lover's Wind. There is something in the story of Pascal Lamorisse that touches on a fabulous story: it is the story of the transmission of cinema from father to child.
As she nears the age of 30, Rina still tries to find, with some difficulty, a path to becoming a film director. This year her father Richard, who she misses dearly, sends his favorite animal and Chinese zodiac sign, the tiger, to silently listen and follow his daughter through her unsteady sound of life. Through the medium of film, we distantly imagine what the world was like in the 1950s, when he himself was 30.